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  #271  
Old 12-12-2015, 06:26 PM
printer2 printer2 is offline
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Quote:
Originally Posted by Tom West View Post
A rolling stone gathers no moss. Man, Bruce you don't waste much time.......A pure joy to watch how you can work so quickly........Good going!!
Tom
What do you mean? I have been sitting here patiently for weeks and weeks (or at least it felt like it) for a new build.
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  #272  
Old 12-12-2015, 06:38 PM
clinchriver clinchriver is offline
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[QUOTE=Bruce Sexauer;4747652]I imagine the aesthetic referred to is the color of Pernambuco? If so, it actually has quite a range of color, from a fairly neutral brown through yellow and purple. But the bulk of it is a sort of florescent brick like this, and this is the prized coloration in the Bow world. Under finish, and especially as time passes, it darkens and mellows, but there is virtually always an electrical undercurrent if you look hard enough. Because for me a large component of beauty is rooted in function, this wood looks mighty fine to me.

Here are the plates with the braces on. This is my first non-scalloped top in quite some time, probably over 15 years!

Nice, going after a vintage Gibson sound or what are you after with this one?
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  #273  
Old 12-12-2015, 07:13 PM
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While I really haven't made a single decision about goals, I have made quite a few choices that give me some insight into what I'd be thinking about if I were. Not only will this guitar be non-scalloped, it will have a 24 3/4" scale, and it will have a 4.6" body depth at the tailblock. That's the deepest "small" bodied guitar I've made, and much closer to what the original L00's were, judging by the three I've actually measured.

Attending a lecture at the Fretboard Summit, I learned that the earliest L00's were actually considerably shorter scale than the later ones we mostly see. Perhaps I will become a vintage expert yet if I keep at it.

It was months and months, Printer2! Time flies when you're having fun.
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  #274  
Old 12-13-2015, 01:45 PM
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Here's a little insight into my "peone" method of assembly. I call it mine only because I know of so few practitioners of this art, the process is actually deeply rooted in the Spanish tradition from which many/most aspects of guitar lutherie spring.

It is pouring rain this morning, so I did this before noon:






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  #275  
Old 12-13-2015, 08:30 PM
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I got quite far today considering a, it is Sunday, and b, I went to a Celtic fiddle jam for a couple of hours! I also put up the lights on the front of the house in a storm lull.

The back is ready to go on, so I expect I'll close tomorrow:
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  #276  
Old 12-13-2015, 09:23 PM
Sam VanLaningham Sam VanLaningham is offline
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Hi Bruce. Glad you are back in the saddle.

So you glue individual wedges for your kerfing? Do you join top to sides before or after? Wowza. If so I missed a critical step in my build inspired by your work hehe.

Sam
  #277  
Old 12-14-2015, 02:18 AM
iim7V7IM7 iim7V7IM7 is offline
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Yes, he uses traditional Spanish method of individual lining blocks (peone or tentellones) made from spruce for his top linings (not kerfings nor even kerfed linings!). For his back linings, he typically will use continuous kerfed Spanish Cedar linings. I believe Bruce learned this technique from Canadian luthier Michael Dunn who learned it at "Los Guitarreros de Mallorca" under José Ferrer from Granada and Maestro José Orti Benieto from Valencia in the mid-1960s. He also works without a mold which is also quite uncommon these days...

This is a beautiful looking pattern of top bracing. I will be curious to hear what you think of the non-scalloped braces when its complete...

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Originally Posted by Left of Sam View Post
Hi Bruce. Glad you are back in the saddle.

So you glue individual wedges for your kerfing? Do you join top to sides before or after? Wowza. If so I missed a critical step in my build inspired by your work hehe.

Sam
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  #278  
Old 12-14-2015, 10:40 AM
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Bob has it exactly right in his post above. I will add that I do not actually directly glue the sides to the top at any point. The Peone are intermediary connectors and have the interesting quality that the can be crowded or spaced as a control over the rigidity of the structure. When the binding/purfling goes in the connection that does not exist between the sides and the plate is completely removed in any case.
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  #279  
Old 12-14-2015, 08:31 PM
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Tomorrow I will but on the fourth course of binding and then get to the neck, I imagine. Good thing you folks aren't posting too much as we are perilously close to 300 and it would be a shame to have a chapter 3 for this year when so close to starting next years thread.

Here's the third course of binding in the clamps:
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  #280  
Old 12-14-2015, 08:52 PM
Minexploration Minexploration is offline
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Bruce,

From your vast experience what would you expect the sound to be like based upon the bracing and deeper body? Will it be extremely balanced like the guitars I played in your shop or more base heavy? Lately, I have been thinking about a guitar for a strong thumb attack for Texas style country/blues. Ray Wylie Hubbard style of music. In my mind this guitar is built for that, but my mind is still a neophyte.

Jrw
  #281  
Old 12-15-2015, 10:30 AM
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I have no expectation that this will be a bass biased guitar, but the reality is not yet known. It would surprise me, but it wouldn't be the first time that happened.

If I had known, when you were here, that you were interested in something like that I do have a guitar I would have put in your hands. It is a Tucarensis/Italian OM that happens to have more bottom end than I was actually aiming for. While not quite what I dream about, finger stylist Stevie Coyle picked it as his favorite of six I put in his hands a while back. Here is its page on my site.
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  #282  
Old 12-15-2015, 11:13 AM
Minexploration Minexploration is offline
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Wow. That guitar has all the specs that I dream about when I visit your site and in my head play out the guitar that you would build. (multi scale, body size, I believe asymmetric ect) Next time I visit hopefully it is still there and I can play it and discuss how to make my wallet lighter.

Have a good holidays.
  #283  
Old 12-15-2015, 02:11 PM
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As predicted (I've done this before) the binding is on, scraped flush, and the whole shebang is sanded to 180.

The binding is Amazon Rosewood:




I believe a subtle wedge should be standard on all guitars:


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  #284  
Old 12-15-2015, 02:32 PM
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Looks like your little lady has her corset cinched a bit tight - ;-)


Gonna be a beauty! can't wait to see a little varnish on her -
  #285  
Old 12-15-2015, 05:01 PM
Sam VanLaningham Sam VanLaningham is offline
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Bruce and Bob - thanks so much for the explanation of the peone lining method. As with other techniques of yours, I love this one and plan to use it next build. I like the idea that I can have a bit more control on the shape. I also like the idea of not having a bunch of forms taking up space. Win-win in my book.

I really like the look of the waist figure in the wood. I chose a grain alignment very similar in my newest Macassar ebony build.

Thanks for continued inspiration.
Sam
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